"Banks loved metafictional negotiations, complex plots, and deconstructionist approaches, but he also loved story; he tied every subplot, told the tale of every character, and made sure to repay out good faith in him in kind.”

In “The Culture Series of Iain M. Banks - A Critical Introduction” by Simone Caroti

As a wildly innovative, imaginative, popular and subversive novelist, his works are infused with darker elements that give them a forbidden, cultish, underground status, but the fictions that are perceived as being in his more conventional and less evidently speculative mode fail to. It's entirely possible that readers expect SF to be simpler and less demanding based on their previous experience of reading SF, rather than on mere prejudice. After all, you don't have to eat all that much crap before you become unable or unwilling to distinguish it from fudge brownies.

Well I've done a systems check this morning and it appears that, yes, the anal probe has caused some slight damage to the self-censorship circuit boards, which may also have caused the nuance software to be over-ridden. This meant that the remains of the message was diverted to the spamsac. I include it here under the Full Disclosure subroutine:

"Of course, this logic doesn't just apply to SF. If, for example, someone gave me “Amsterdam”, “Freedom” and "My Brilliant Friend” to read, telling me that it was the best of contemporary fiction, then I would legitimately be led to expect that there was no such thing as a fudge brownie, and that the main requirement for reading contemporary fiction would be to install the Brainfuck 2.0 virus whilst sticking hot knitting needles in one’s ocular sensors." (although in italics, they're my own words)